The artwork does not represent an imitation or reproduction of reality. The artwork is the reality into which one can project illusions, images, feelings and thoughts – or not. “One could possibly view these works as landscapes…” (Wilhelm Roseneder) – this is just one of the many possibilities of viewing and perceiving. The paintings “Green, Blue, Yellow” are an abstractive imagination of inner and outer landscapes.

One sees the colours `green, blue, yellow´ as they are applied and mixed, and yet much more than that. These paintings are variations of the idea of image and reality. It is difficult to translate the perception into language.

These paintings don´t exhaust themselves in being self-referential – there is a given essential relationship to the ìnner´and òuter´. They have an order, a cannon, an inner order of images – associations are welcome.

It could be a state of consciousness, not the witnessing of an outer event. A fleeting memeory in one´s mind´s eye could be one of many sources of inspiration. Memories, thoughts and emotions regarding travels, dreams or observations could also be heightened within the image. Possibly a recollection of a landscape, the sea or the sky, a memory of a place of calm and contemplation.

Wilhelm Roseneder says: “The paintings `Green, Blue, Yellow´seem to reflect back to me my daydreams – a half-concealing veil, which often falls over me – fragments of memories or emotions which possess an element of reality, but also unite the fictional and intellectual.” Completely different impressions could be conceived depending on time of day and conditions of light.

Wilhelm Roseneder´s paintings glow, they have an aesthetic effect – each on its own; they follow their inner logic. Each painting is self-contained, yet referencing the others. Tha layers of colour merge into each other or overlap, just as the `meaning´of a painting can consist of several layers.

One walks through a juniper forest and at the end of the path there´s green-blue-yellow.

I really like the middling size and tall shape of this green, blue and yellow paintngs. I don´t know why, why would I? They remind me, with their scraped and combed about oily freshness, of David Hockney´s apple-green white and salmon-pink stoned monochromes from the seventies as well as Richter´s stage designs for The Fairie Queen and Shrek. I like the fact that current painting is direct and quite comfortable with its immediate circumstances, not forgetful or apologetic or trying to lose itself and than find itself again as an aide memoire in an endless, mundane game of popping out from behind shrubby bushes and spruces, or rocks and surprising oneself and few friends from odd angles and becoming lonely. Matthew Arnatt & David Mollin, 100 Reviews April 2003, London